Electric Blues Duo - Make Mine A Double (1987/1989)

Coming Soon !!!

Destroy All Monsters - November 22, 1963 (Singles & Rarities) (1989)

Coming Soon !!!

Cream - The Alternative Album (1966/67)

All tracks are recorded in September 1966 in London and were alternative tracks for Creams first album "Fresh Cream", except track Nr. 7 which had never been released before and track Nr. 9 "Fallstaff Beer", which was recorded in Sweden, 1967.

Ginger Baker (drums, vocals)
Jack Bruce (bass, harmonica, vocals)
Eric Clapton (guitar, vocals)

01. Lawdy Mama (Trad.) 2.03
02. Rollin´ And Tumblin´ (Morganfield) 4.39
03. Sweet Wine (Baker) 3.09
04. Cat Squirrel (Trad.) 3.12
05. The Coffee Song (Colton/Smith) 2.49
06. Toad (Baker) 4.22
07. You Make Me Feel (Bruce) 2.43
08. Wrapping Paper (Bruce/Brown) 1.07
09. Fallstaff Beer (Bruce) 1.02
10. I Feel Free (Bruce/Brown) 3.09
11. White Room (Bruce/Brown) 4.14

Coming Soon !!!

Mountain - Last Night At The Fillmore East (1971)

This is a remastered version of two similar boots, Mt. Fillmore: Live At The Fillmore East 1971 and Closing The Fillmore East.It is a significant improvement to both. CTFE suffered from high frequency loss and low volume level. The source for this new version, Mt. Fillmore, had superior sound but ran more than 5% fast and suffered somewhat from digital distortion, particularly in Dreams Of Milk And Honey. Both of those problems have been corrected and some minor dips in volume have been adjusted. Also absent is the nifty reminder during Roll Over Beethoven on CTFE that we are listening to radio station KLOS. Both versions suffered from a two minute cut in the middle of Dreams Of Milk And Honey. After carefully matching volume and EQ, the missing part has been patched with the same segment from "Flowers Of Evil". You can find the patch at 7:51 when the guitar shifts to the center channel due to the different mix, ending at 9:51. In addition, the Outside The Fillmore interviews and California Jam track from CTFE have replaced the two commercially available bonus tracks on MT. FILLMORE.

Dreams Of Milk And Honey and Roll Over Beethoven were used on the official release, "Flowers Of Evil".That version dropped an introduction and made a minor cut in Dreams Of Milk And Honey. Here these tracks are complete and unedited in a slightly different mix. In comparison, "Flowers Of Evil" now sounds somewhat anemic.

MT. FILLMORE lists the date of this show as June 26 and CTFE lists it as June 28. June 27 was the final night of the Fillmore's closing run. The same lineup (Albert King, Mountain, The J. Geils Band and The Allman Brothers Band) played on each of the last two nights, so the 26th is possible. But this tape is from a radio broadcast and it's likely that such a broadcast would have been on the final night. Also, the circulating Allman Brothers tape of these last shows is from the 27th, and it would seem logical that was the same broadcast.

Steve Knight (keyboards)
Corky Laing (drums)
Felix Pappalardi (bass, vocals)
Leslie West (guitar, vocals)

01. Intro by Bill Graham 0.24
02. Never In My Life () 7.09
03. Theme For An Imaginary Western (Bruce/Brown) 5.22
04. Roll Over Beethoven (Berry) 8.48
05. Dreams Of Milk And Honey () 15.59
06. Silver Paper () 7.58
07. Mississippi Queen () 6.19
08. Outside of the Fillmore 3.21
09. Nantucket Sleighride (Bonus track from California Jam 1974) () 6.45

Coming Soon !!!

Blues Brothers Band - Live At The Montreux Casino (1989)

Coming soon !!!

Emerson, Lake & Palmer - Live At The Isle Of Wight Festival (1970)

The Isle Of Wight Festival saw the first true super group of the 70´as get the springboard to international sucess they were soon to become accustomed to. Three very talented musicians from three sucessful bands had decided to pool their resources and have a bath. What they ended up doing was taking Progressive Rock to the outer limits of indulgence, whilst throwing in many a jaw dropping performance along the way.

Keith Emerson from The Nice, Greg Lake from King Crimson and Atomic Rooster´s Carl Palmer took the Isle Of Wight stage for only their second time as a band, and proceeded to blow the minds of many of the thousands of sun drenched hippies there.

Emerson´s love for classical music had often been show cased in The Nice, his quite remarkable keyboard skills would be pushed to the limits in ELP, and set against Lake´s more down to earth song writing and Palmer´s dynamic percussive ability, the stage was set for an explosve performance. Their short 55 min set was new to the vast audience.

ELP were praised and panned after the Isle Of Wight show, thousands loved them, some thought it was all too much pomp, in the wrong circumstance. Either way the self-titled debut-album was a hit and the shows became longer and much more spectacular, and often involved an orchestra, a Persian rug and lots more organ abuse ...

Keith Emerson (keyboards)
Greg Lake (vocals, bass, guitar)
Carl Palmer (drums)


01. The Barbarian (Bartok) 5.07
02. Take A Pebble (Lake) 11.47
03. Pictures At An Exhibition (Mussorgsky, aditional music & lyrics: Emerson, Lake & Palmer) 35.49
04. Rondo (Bach) 4.12
05. Nutrocker (Tschaikovsky) 4.49
06. Interview 6.14

(Artwork included)

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Ten Years After - Same (1967)

After several years of local success in the Nottingham / Mansfield area as a band known since 1962 as The Jaybirds (its core was formed in late 1960 as Ivan Jay and the Jaycats), and later as Ivan Jay and the Jaymen, Ten Years After was founded by Alvin Lee and Leo Lyons. Ivan Jay sang lead vocals from late 1960 to 1962 and was joined by Ric Lee in August 1965, replacing original drummer Dave Quickmire, who had joined in 1962. In 1966 The Jaybirds moved to London, where Chick Churchill joined the group. That November the quartet signed a manager, Chris Wright, and decided to change their name to Blues Trip, Blues Yard (under which they played a show at the legendary Marquee Club supporting Bonzo Dog Band), and finally Ten Years After in November 1966. They became the first band of the soon-to-be Chrysalis Agency. They secured a residency at the Marquee, and received an invitation to play at the renowned Windsor Jazz Festival in 1967. That performance led to a contract with Deram, a subsidiary company of Decca — the first band so signed without a hitsingle. In October, their 1967 self-titled debut album "Ten Years After" was released. (Source: Wikipedia)

This album was described by one person I know as "pretty emotional". Hed had arrived in Studio 2 at Decca´s Recording studios in West Hampstead during a run-through of the final edited tapes, and quiete obviously, to judge from his expression, this remark was an understatement, But then you can´t suddenly blurt out, "It´s bloody marvellous" - or can you ? I almost did, but then one usually tends to exaggerate and magnify in the emotional heat of the moment. (John C. Gee, Manager of the Marquee Club, London, 1967)

Ten Years After:
Chick Churchill (keyboards)
Leo Lyons (bass)
Alvin Lee (guitar, vocals)
Ric Lee (drums)

01. I Want to Know (McLeod) 2.12
02. I Can´t Keep From Crying Sometime (Kooper) 5.34
03. Adventures Of A Young Organ (Churchill) 2.37
04. Spoonful (Dixon) 6.20
05. Losing The Dogs (A.Lee/Dudgeon) 3.09
06. Feel It For Me (A.Lee) 2.45
07. Love Until I Die (A.Lee) 2.10
08. Don´t Want You Woman (A.Lee) 2.41
09. Help Me (Dixon/Bass) 10.16

(Artwork included)

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Pentangle - So Early In The Spring (1989)

Formed in 1967, 'The Pentangle' was inspired by 'Bert and John', a
collaborative album by folk musicians Bert Jansch (b. 3 November 1943, Glasgow, Scotland) and John Renbourn. Vocalist Jacqui McShee, an established figure on the traditional circuit, who had been working with John for a year and had appeared on his album 'Another Monday' then joined. The lineup was completed by Danny Thompson (b. April 1939; bass) and Terry Cox (drums), both of Alexis Korner's Blues Incorporated, in a quintet which would also embrace blues and jazz forms.
Their respective talents were expertly captured on The Pentangle, where the delicate acoustic interplay between Jansch and Renbourn was brilliantly underscored by Thompson's sympathetic support and McShee's soaring intonation. Stylish original material balanced songs pulled from folk's heritage ('Let No Man Steal Your Thyme', 'Brunton Town'), while the inclusion of the Staple Singers 'Hear My Call' confirmed the group's eclectism. This feature was expanded on the double-set Sweet Child, which included two compositions by jazz bassist Charles Mingus, 'Haitian Fight Song' and 'Goodbye Pork Pie Hat'. The unit enjoyed considerable commercial success with Basket Of Light, which included 'Light Flight', the theme song to the UK television series, Take Three Girls. However, despite an undoubted dexterity and the introduction of muted electric instruments, subsequent releases were marred by a sense of sterility, and lacked the passion of concurrent releases undertaken by the two guitarists.

Pentangle was disbanded in 1973, following which Thompson began a partnership with John Martyn. Cox undertook a lucrative session career before backing French singer Charles Aznavour, and while Jansch continued his solo career, McShee fronted the John Renborn Band between 1974-81. The original Pentangle reconvened the following year for a European and Australian tour . Defections owing to outside commitments led to considerable changes. John was replaced by Mike Piggott , (violin and guitar) and `0pen The Door was recorded in 1983. McShee , Jansch , Cox and Piggott were joined by Nigel Porttnan-Smith (bass) for In The Round 1985, but by 1986 Piggott and Cox had departed and were replaced by Rod Clements (guitar, mandolin) and Gerry Conway (drums) to record `So Early in the Spring 1988. Peter Kirtly (guitar) now featured in the group to replace Rod Clements. This particular line-up continued, recording ,`Think Of Tomorrow` in 1991,`One More Road` in 1993 and a live album in Germany , Pentangle Live `94. .

The album was produced by the band member Nigel Portman Smith

Jacqui McShee (vocals) 
Bert Jansch (guitar, vocals)  Tony Roberts (flute, whistle)
Nigel Portman Smith (bass, keyboards)
Rod Clements (mandolin, guitar)
Gerry Conway (percussion, drums) 

1. Eminstra (Clements/Conway/Jansch/McShee/Portman-Smith) - 3:57
2. So Early in the Spring (Traditional) - 5:40
3. Blacksmith (Traditional) - 3:25
4. Reynardine (Traditional) - 4:21
5. Lucky Black Cat (Clements/Conway/Jansch/McShee/Portman-Smith) - 3:20
6. Bramble Briarr (Traditional) - 5:54
7. Lassie Gathering Nuts (Traditional) - 5:02
8. Gaea (Traditional) - 4:46
9. Baron of Brackley (Traditional) - 7:53

(Artwork included)

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V.A. - Rock And Roll Hall Of Fame (1993)

The Rock and Roll Hall of Fame ceremony Tuesday at the Century Plaza Hotel was a night of both renewal one touching moment capturing the music's ability to reconcile, and in the next casting a bright spotlight on the animosity that can intrude on the most idealistic music.

The members of the land mark blues-rock trio Cream hadn't played together publicly since their 1969 farewell concerts at London's Royal Albert Hall. Eric Clapton, Jack Bruce and Ginger Baker have kept their distance from each other in the intervening years.

But when singer-bassist Bruce stepped to the microphone to acknowledge the group's induction, which climaxed the evening, he observed, "I think that must be what rock'n'roll is about. It brings people together. And if the three of us could be together again, anybody could be together again, I´ll tell you."

Guitarrist Clapton, whose fame has far surpassed that of his colleagues, was more emotional in his address."I've been reunited with two people I love very dearly,"Clapton said, pausing briefly to collect himself. "It´s very moving.

Cream backed up the words a little later with a blistering live set, but the performance that preceded theirs touched off a renewal of hostilities within one of American's classic groups.

When John Fogerty took the stage to play some of his Creedence Clearwater Revival songs, he was fIanked by Robbie Robertson and Bruce Springsteen rather than Creedence's surviving members, bassist Stu Cook and drummer Doug Clillord. That partnership ended in acrimony in 1972 and there are no signs of reconciliation. (In a recent interview, Fogerty characterized his relationship with his former bandmates as like eyeballing each other over a minefield. ... I think there are a lot of strong not-so-positiv feelings. ")

As the threesome and the house band launched "Who'll Stop the Rain," Cook and Cliflord left their table (located on the opposite side of the room from Fogerty's) and walked out of the room,returning later for Cream's performance.

After the music ended and the light came up, Cook stood holding the unused bass that he'd brought in anticipation of playing.

"I personally thought it was somewhat tasteless that Creedence songs, with a band of stars of course," said Cook."We figured that John could set aside whatever (expletive) grievances. Doug and I were both very hurt. We found out just today that we weren't gonna get to play 'Born on the Bayou.' It was (Fogerty's) decision. ... I came down to rehearsal this afternoon and said, 'John, what's the deal?'
He says, 'I'm not playing with you guys ever again. '... I decided just to get up and leave.I didn't want to hear them."

In between those extremes were the annual ceremony's customary range of lighthearted and touching moments.

By Richard Cromelin
Special to the TIMES

Recorded live at the Century Plaza Hotel, L.A., January 12. 1993:

The Doors w/Eddie Vetter:
01. Roadhouse Blues () 5.56
02. Break On Through () 3.33
03. Light My Fire () 8.36

Creedence Clearwater Revival w/ Bruce Springsteen & Robbie Robertson:
04. Whol Will Top The Rain (Fogerty) 3.14
05. Green River (Fogerty) 3.18
06. Born On The Bayou (Fogerty) 3.35

Cream:
07. Sunshine Of Your Love (Bruce/Brown/Clapton) 5.47
08. Born Under A Bad Sign (Bell) 3.42
09. Crossroads (Johnson) 4.28

Recorded live at the Apollo Theatre, NYC, June 13, 1993

B.B. King
10. Rock My Baby (King/Josea) 5.43 feat. Eric Clapton
11. Sweet Little Angel (King) 5.29 feat. Eric Clapton, Buddy Guy, Jeff Beck & Albert Collins

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Siegel Schwall Band - Three Pieces For Blues Band And Orchestra (1973)

"It was during one of his first Chicago performances that Siegel was introduced to a musician whom he would later credit with changing the direction of his musical career. The introduction came through former Sun Times music critic David Noble, who insisted his friend Seiji Ozawa, then summer guest conductor of the Chicago Symphony Orchestra come see the band's performance at a club in Old Town." (Editor's note: David Prescott was a Chicago Tribune music critic)

"Ozawa walked into Old Town night life two seasons ago; in a week which he and the Chicago Symphony were presenting the local premiere of Charles Ives' Fourth Symphony. The Siegel-Schwall Blues Band (Corky Siegel and Jim Schwall), the first band he heard on Wells, became his favorite.
He wasn't recognized when he first appeared at Big John's, the bar where they were playing. And, because he didn't have any identity cards to prove his age, he wasn't allowed inside the door.

Ozawa took a taxi back to his hotel, picked up passport (which proves he's 31, even though he doesn't look it), returned, was admitted, and listened and talked until closing time. He came back each time guest conductor duties brought him to Chicago. In the summer, after the start of the Ravinia season, he became a regular. He traded musical ideas with the Siegel-Schwall group and urged them to make a record. (They did). Someday, he says, "Someone will write an orchestral piece for a group like this." (Editor's Note: The above story was written in July of 1967)

"Ozawa was impressed, he returned for many performances and suggested a blues classical collaboration. Siegel worked closely with Russo who then began composing and orchestrating "Three Pieces for Blues Band and Symphony Orchestra." The 1968 premier of the composition featuring the Siegel-Schwall Band and the Chicago Symphony was met with a standing ovation and critical acclaim."

"Three Pieces for Blues Band and Symphony Orchestra was commissioned, composed, and finally played with the Chicago Symphony Orchestra to Ozawa's delight; 'It was a success. Some people think that this is a totally different side of music, but I see it as a convergence in the future. They (Siegel-Schwall) are fantastic.'" - Seiji Ozawa interview 1968 - Airline Magazine

Shelly Plotkin (drums)
Al Radford (bass)
Jim Schwall (guitar)
Corky Siegel (harmonica)

Seji Ozawa (conductor)
San Francisco Symphony Orchestra




Street Music op 65, - A Blues Concerto - composed by William Russo (total time: 31.18)

01. 1st Movement 8.16
02. 2nd Movement 5.18
03. 3rd Movement 8.52
04. 4th Movement 8.53

Three Pieces For Blues Band And Symphony Orchestra op. 50, composed by William Russo (total time: 24.17)

05. 1st Part 8.08
06. 2nd Part 8.58
07. 3rd Part 7.11

08. An American In Paris (Gershwin) 18.03

(Artwork included)

This posting is dedicated to
William Russo
June 25, 1928- January 11, 2003

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West, Bruce & Laing - Why Dontcha (1972)

After the split up of Mountain, Leslie West and Corky Laing formed with Jack Bruce the powertrio "West, Bruce & Laing".
This is their debut-album, released in November 1972.

Corky Laing in his own words about the end of "Mountain" and the early days of "West, Bruce & Laing":


"There was a lot of self-abuse. It was the old ladies, it was drugs, and it was greed and ego. Everything the Russians hated about America, we were living it!"

"When Felix wanted to announce a breakup, I never understood why we couldn't have just gone our different ways for a while instead. That made no sense to me. We'd worked really hard to build all of that up."

Laing stayed involved with West.

"Philosophically, we went in different directions, but musically we were on the same page."

The duo went to Island Studios in London to record, originally with the intention of forming a band along with Paul Rodgers (FREE), Mick Ralphs and Overend Watts (MOTT THE HOOPLE). Things were going well until West invited ex-CREAM bassist Jack Bruce to come in for a jam.

"The next time I talked to Leslie, he told me that his dream was to be in a band with Jack Bruce. I thought we already had a good band going, especially with Paul singing, but Leslie said that Jack would sing too, and off it went."

"Our sound was a lot rougher than Mountain's. 'Like Why Dontcha' I wrote in just twenty minutes and we jammed fiercely on it. We were flowing with ideas and actually stayed together longer than Mountain had."

Jack Bruce (bass, vocals, haromica)
Corky Laing (drums)
Leslie West (guitar, vocals)

01. Why Dontacha (West/Bruce/Laing) 3.02
02. Out Into The Fields (Bruce/Brown/West/Laing) 4.40
03. The Doctor (West/Bruce/Laing/Palmer) 4.30
04. Turn Me Over (West/Bruce/Laing) 2.43
05. Third Degree (Boyd) 5.15
06. Shake My Thing (West/Bruce/Laing) 3.14
07. While You Sleep (West/Bruce/Laing) 3.24
08. Pleasure (Bruce/Brown/West/Laing) 4.02
09. Love Is Worth The Blues (West/Bruce/Laing) 4.11
10. Pollution Woman (Bruce/Brown/West/Laing) 4.26

(Artwork included)

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Manfred Mann - Chapter Three, Vol. 1 (1969)

This album was released in November 1969, Manfred Mann Chapter Three was Vertigo's third album release.
Manfred Mann was after all these years as a star in the pop market very proud of these recordings, because they show him and his band as a "real" musician" with an ambitious mixture between jazz and rock.
Mike Hugg was the vocalist, pianist and principal song writer with Manfred playing organ and arranging the album's contents.

One of the hightlights was "Snakesin Garter" witch an excellent bass solo by Steve York. Another highlight was "Travelling Lady", a wonderful song with a dark atmosphere and sophisticated lyrics.


Personnel:
Craig Collinge (drums)
Brian Hugg (guitar)
Mike Hugg (keyboards, vocals)
Bernie Living (saxophone)
Manfred Mann (keyboards)
Steve York (bass)
01. Travelling Lady (Mann/Hugg) 5.48
02. Snakeskin Garter (Hugg) 5:48
03. Konekuf(Mann) 5:47
04. Sometime (Hugg) 2:37
05. Devil Woman" (Hugg) 5:24
06. Time (Hugg) 7:25
07. One Way Glass (Mann/Thomas) 3:33
08. Mister, You're A Better Man Than I (Mann/Hugg) 5:10
09. Ain't It Sad (Hugg) 1:57
10. A Study In Inaccuracy (Mann) 4:05
11. Where Am I Going" (Hugg) 2:36
12. Travelling Lady (Mann/Hugg) (alternate version) 5.16

(Artwork included)

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Traffic - Woodstock 1994 (1994)

... and the group quickly blasted through Pearly Queen and Medicated Goo before hitting its stride with a killer jam during Rock & Roll Stew. Steve Winwood and company sounded better than ever, following a work-out on the Grateful Dead´s summer tour. While the ensemble's set list was predictable, every note of every song was extremely well played, and plenty of improvisation took place. The highlight of the 90-minute set was a jazzy version of Low Spark of High-Heeled Boys, which was perfect for driftin' and dreamin'. Throughout the set, Winwood more than proved that he hadn't lost his gift of banging out melodic piano and guitar solos, something that has been missing from his solo work ...

Traffic 1994:

Randall Bramblett (sax, flute, keyboards)
Jim Capaldi (vocals, drums, percussion)
Rosko Gee (bass)
Mike McEvoy (guitar, keyboards)
Walfredo Reyes Jr. (drums, percussion)
Steve Winwood (vocals, keyboards, guitar)

01. Pearly Queen (Winwood/Capaldi)) 5.13
02. Medicated Goo (Winwood/Miller) 5.37
03. Rock N Roll Stew (Winwood/Capaldi)) 6.13
04. Mozambique (Winwood/Capaldi) 5.22
05. The Low Spark Of High Heeled Boys (Winwood/Capaldi) 11.13
06. Glad / Freedom Rider (Winwood/Capaldi) 10.35
07. Empty Pages (Winwood/Capaldi) 4.28
08. Light Up Or Leave Me Alone (Capaldi) 12.40
09. Dear Mister Fantasy (Winwood/Capaldi/Wood) 7.28
10. Gimme Some Lovin´ (Winwood/Davis) 6.33

(Artwork included)

This posting is dedicated to
Jim Capaldi
(August 02, 1944 - Januar 28, 2005)

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Teaze - Tour Of Japan (1991)

This is the one and only official live album from Teaze, a brilliant hard-rock band from Canada.
Teaze was very popular in Japan and so it´s not a big surprise, that their live album was recorded at the Nakona Sun Plaza, Tokio.

Teaze was:
Mark Bradac guitar, vocals
Brian Danter vocals, bass
Mike Kozak drums
Chuck Price guitar, vocals


01. Rockin´With The Music (Bradac) 3.54
02. Lady Killer (Bradac/Kozak/Price) 5.16
03. Come On Hold On (Danter) 6.24
04. Baby Why Can´t You (Danter) 3.26
05. On The Loose (Bradac/Danter) 7.42
06. Open My Eyes (Bradac/Danter) 6.42
07. Tonite It´s Me (Kozak) 3.30
08. Boy´s Nite Out (Bradac/Kozak) 6.22
09. Gonna Have A Good Time Tonight (Vanda/Young) 3.35
10. Hot To Trot (Bradac/Danter/Kozak/Price) 3.39

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